I was delighted to be invited by the National Army Museum to speak about the First World War and Votes for Women - a stimulating start to the year made even more enjoyable by the fact that all the tickets to attend in person sold out!

It was great to revisit the research from the What Difference Did The War Make? project I was part of in UK Parliament in 2017-2018 and to add some content from subsequent and ongoing archival explorations. I knew that the NAM had hosted a talk by Wendy Moore in 2020 about the Endell Street Military Hospital, and that she had also published recently about the life of Actresses' Franchise League and WSPU member Vera 'Jack' Holme, so I included mentions of both.

I also introduced key wartime projects by the AFL that are lesser known, such as the Women's Emergency Corps, the British Women's Hospital Fund, and the Woman's Theatre Camps Entertainments, and spoke about the presence and influence of theatrical suffragists in wartime initiatives organised by activist women including the Shakespeare Hut, and the Scottish Women's Hospital. It was great to share my research in this way, and to bust a few pervasive myths about the suffrage campaign in WW1!

I made a pilgrimage to see Suffs at the Music Box Theatre on Broadway last month, and saw it on the 26th October, when the news was full of the US Presidential campaign.
​I was walking around the streets of Manhattan that weekend thinking of the incredible effort New York suffragists had made in the city 99 years earlier - in October 1915 - to make Votes for Women as visible as possible.

 That's the first verse of The Awakening by American poet Ella Wheeler Wilcox, set to music in January 1911 by composer Teresa del Riego.
​​
​I discovered del Riego’s name when looking for histories of women composers at the Proms and cross-referencing the names with my research into the work of Edwardian theatre and entertainment professionals who supported the Votes for Women campaign. 

More archive fun!

Ernest Hutchinson's 1913 short play Votes for Children has intrigued me since I first read the manuscript in the LCP Collection at the British Library.  Described with some glee in the LCO Readers Report as "a lively skit upon the agitation of female militants for votes", the piece is set in the offices of the fictional CSPU - the Children's Social and Political Union - and requires a mixed cast of children and adults. Hutchinson subtitles the play "A Comedy of the Future", and in this futuristic world children are campaigning for the right to vote at age six, the Prime Minister is a woman, and her husband who is the Home Secretary has been kidnapped by the leader of the CSPU, their daughter Rosabel. ​

You may be familiar with accessing books, archive collections, or microfilms at the British Library, but it can be daunting to look for and order play manuscripts if you haven't done so previously.

The staff in the Manuscripts reading room are really helpful, but I thought a users guide for any first-time researchers wanting to look in the Lord Chamberlain's Plays Collection might be useful so that you know what to expect and ask for. So here we go:

In April 2022 I was in the University of Bristol Theatre Collection researching the London cabaret scene of the early to mid twentieth century when I saw this face peeking out at me from an open folder of programmes and cuttings. I was immediately intrigued! The full picture was, I assumed, a publicity shot for a cabaret act, a play, or perhaps even a film.

All images by Jacky Fleming

I'm collaborating with Scary Little Girls for the fourth season of their Salon de la Vie project - on everything you didn’t know about the suffragettes and their creative campaigning!  We’ll combine recorded extracts, songs, special guests and live shows in this season to celebrate the wild, wonderful, wise and witty women of the first wave.  

Join us for…

June 2nd, Votes for Children!
A look at the young people who supported the suffrage movement and found their own voice in the process.

June 16th, Birds of a Feather.
We will hear about plans to fill Parliament with suffragette parrots, talk about how the movement campaigned not just for votes for women but to end vivisection, and explore the links between vegetarianism and suffrage.

June 30th, Nobody Expects the Suffragettes!
Site specific, pop up and random acts of activism all characterised the creative shenanigans of suffragists in the theatre and entertainment industries, and in this Salon we celebrate some of the most unexpected!

July 14th, The Woman’s Theatre.
Here we will look at the way suffrage campaigners imagined a theatre they could be part of, including female producers and playwrights, crèches, and an end to the casting couch… so much to admire and yet to apply to the modern mainstream…

July 28th, Taking the Stage!
Our all live season finale bringing the work of Elizabeth Robins, Evelyn Glover and Cicely Hamilton to life before your very eyes!  Expect digital mayhem, songs, short scenes and feminist fun for all!  Tickets for this £5, the only Salon of the season we’re charging for and we are super grateful for your support!

About Salon de la Vie 

Now coming up to its fourth season, Salon de la Vie is our fortnightly series of 15 – 20 minute extravaganzas of songs, storytelling, merriment and conversation. Focusing each time on an awe-inspiring, remarkable and brave human from the world of film, music, literature and history, and drawing parallels with the achievements of activists today, we celebrate how people positively embody the change they want to see in the world, for themselves and for others.

Reading Twenty - 23rd February 2021

Act Three of Woman on Her Own by Eugene Brieux, translated by Charlotte Shaw (1913).

Readers: Sarah Annakin, Lucy Stevens, Mufrida Hayes, Sarah McCourt, John Fleming, Michelle Claire, Maggie Saunders, Annie Walker, Kathryn Martin, Jemma Churchill, Stephanie Fayerman.

Reading Twenty-One - 22nd March 2021

Lady Geraldine's Speech by Beatrice Harraden (1909),
Her Vote by H.V. Esmond (1909) 
A Suffrage Rummage Sale - An Auction Interrupted by Mary Winsor (1913). 

Readers: Sarah Annakin, Velma Von Bon Bon, Stephanie Ware, Maroussia Richardson, Lucy Stevens, Juliette Burton, John Fleming, Michelle Claire, Jemma Churchill, Philippa Ritchie, Nick Dutton, Maggie Saunders, Catherine Harvey Green, Jamie Newall.

Part of the joy of research is finding surprises in archives, newspapers, autobiographies and ephemera.
Often these stories don't fit the narrative of whatever writing task is at hand at that moment and so get forgotten, but since 2017 I've been thrilled to give many of them a wider audience  on BBC Radio 3's Time Traveller series - broadcast every morning just after 10am as part of the live Essential Classics programme on Radio 3 and then subsequently collated into themes for the Time Traveller podcast. Through this series I've been able to tell over twenty stories from the past about magic, art, sport, theatre, music, dance, and of course the suffrage campaign.

In the first few months of 2012 I worked as a dresser on South Downs/The Browning Version at the Comedy Theatre in London. I was in the second year of my PhD, and also putting together the manuscript of The Methuen Drama Book of Suffrage Plays. Working in wardrobe on West End shows is intense - you're in eight shows a week and often also more for laundry calls, understudy runs, and maintenance sessions. It's also great fun - I've worked in wardrobe on nearly 30 West End shows since 1998 and been fortunate to work with and for some incredibly lovely and talented people on stage and off.

It was on that show that the idea of a suffrage themed 'top trumps' style game first came to me. I thought it would be a great way to introduce some of the amazing campaigners I was finding in my research - and talking about constantly! - to new audiences in an accessible and fun way.

My friend Greg who was then the deputy head of the wardrobe dept was super encouraging of the idea and I mocked up a set to see if it would work. It did. Since that day I've been going on and on about this idea, keen to make it happen but not knowing how to do so.

But finally - in 2018 it has! It was totally worth the wait. Suffra-Greats! is a reality.

My second edited collection with Methuen Drama is being published on the 2nd July! It contains twelve pieces in all - a wide variety of material written by female and male suffragist writers between 1908-1914.

Spanning different styles and genres, the pieces explore many issues that interested feminist and suffragist campaigners such as the value of women's work, domestic and economic inequality, visibility in public space, direct action and its consequences, sexual double standards, and the influence of the media on public opinion. This collection builds on my first volume of plays, published in 2013. If you get both you will have an impressive collection of playable, accessible and fascinating plays that speak to us directly about how the suffrage movement represented itself on the stage and through the medium of performance.

Here's a little bit about each of the plays to whet your appetites!

It's been a couple of months now since my job at Parliament finished - and I've been meaning to write about some of the creative outputs of my time as part of the Vote 100 team. I was part of an AHRC funded project called 'What Difference Did the War Make? World War One and Votes for Women' run by the University of Lincoln and UK Parliament Vote 100 alongside the University of Plymouth. The project outputs included three panel events in Lincoln, Plymouth and London discussing not only the project topic but the work and legacy of past and present female Members of Parliament, alongside workshops for young people, and an exhibition in Parliament and online. You can see that exhibition here: www.parliament.uk

I'm not going to talk about those outputs in this blog post though. Instead this is a brief introduction to some of the other outputs involving project research that happened over the course of my year there - outputs I'm really excited about and that reached out to different audiences in different spaces. There's music, games, theatre, and sweets!

My Time Traveller piece broadcast on BBC Radio 3's Essential Classics on Thursday 8th February 2018, was entitled 'Suffragettes on the Run' - and you can listen to it here (it's 1hr and 12 minutes into the programme)

Music Hall star and Actresses' Franchise League member Marie Lloyd, no stranger to campaigning for the rights of performers within the theatrical profession, lent her support to suffrage societies by singing at the WFL’s Old World Fair at Caxton Hall in 1909 as part of a series of concerts to raise funds, and appearing in How The Vote Was Won in the same year, presumably as the character of Maudie Spark, the music hall comedienne. As an influential, wealthy and famous performer, she was able to support the sisterhood of suffragists in unique ways. One such gesture involved her allowing her theatrical hamper to be used to smuggle a militant speaker into a meeting at the London Pavilion in 1913. Marked ‘Marie Lloyd, Pavilion. Luggage in advance,’ the hamper contained the WSPU speaker Annie Kenney, who was out of prison on licence after a period of hunger-striking and subject to immediate re-arrest under the ‘Cat and Mouse’ Act if she appeared in public.

Kenney wrote about the incident in her autobiography, Memories of a Militant, recalling the workmen who unknowingly delivered her to the theatre in the hamper making ‘growls…about the weight, about actresses having no consideration for the poor men who had to carry their baggage, and so on. I was turned, toppled, banged, dropped, before one of them got me (in my hamper, of course) on to his back.’ 

The ruse worked, and despite the police officers stationed around the entrances to the theatre, Kenney made it inside unnoticed. 

The London Pavilion was a regular site for WSPU meetings in 1913, and the building that housed the theatre is still a prominent part of Piccadilly Circus. I remember it housing waxworks music show 'Rock Circus' when I was a child and it most recently was the site of Ripley's Believe it or Not. Built in 1885, it functioned as a music hall and variety venue until 1912, when it became the home of a string of musicals. as well as mixed bills. You can see a London Pavilion programme from 1913 here - and on the bill is a performance by Graham Moffat's company of Scottish Players. Moffat was a suffragist and the author of suffrage play 'The Maid and the Magistrate', published by the AFL. His wife, actress Maggie Moffat, was the second Scottish suffragist to be imprisoned for campaigning, when she was arrested in 1907. The Glasgow WSPU delegate for the Women's Parliament in Caxton Hall, Maggie Moffat was one of fifty-three women arrested when mounted police broke up a group of women marching peacefully to the House of Commons with a resolution for the Prime Minister. She was subsequently imprisoned in the second division in Holloway. 

But back to the story in question!

I wrote a blog post about suffrage plays for the Vote 100 project - you can read it here. Whilst doing it, I began to compile a list of all the professional performances of suffrage plays, old and new, since 2008... and I'd like you to check yours or one you attended or one that you are putting on next year is on the list, and if not, comment on this post so I can add it to the list! 

I am including:

• Professional productions of plays written by suffragist writers that feature suffrage as a theme or were performed for suffragist audiences between 1908-1918
• New written and/or devised work based on the lives of individual suffragists or suffragettes, female or male
• New written and/or devised work based on suffrage plays, novels or songs
• Site-specific performances featuring or highlighting suffragists and suffragettes
• Performative commemorations or celebrations of suffragists and suffragettes
• Filmed performances of any of the above
• Interactive and immersive performances of any of the above
• Applied theatre/community based projects about suffrage that lead to a public performance
• Upcoming performances of new or existing work in 2017 and 2018
• Anything else that I've missed out here but that you think should be included!

At the moment I am not including projects or performances that have only taken place in formal education institutions, so schools, colleges and universities... unless those performances were/are open to the public or are made available to the public online through video, audio or other online dissemination.

​Please don't be cross if yours is not there - comment and I will add it to the list. This first list is purely made up of projects and performances I remember being in, putting on, attending or knowing about so is limited by those factors.

Please comment and let's make it a much better and more inclusive and more extensive list!